Blakula is a black vampire born in Haiti, hibernated in Transylvania and defrosted in New York City. It's 1977. After living for too long among the humans Blakula starts to enjoy life to the full, even its darkest aspects. Gradually Blakula becomes more human than normal people and starts behaving and feeling like them. So Blakula posed for Robert Mapplethorpe's camera, wrote poems with William Burroughs, shared spray cans and brushes with Jean Michel Basquiat, jammed with Miles Davis and the Velvet Underground, starred in David Lynch's movies, danced at Studio 54 with Andy Warhol, dated Vanessa Del Rio and Joe Dallesandro, got addicted to heavy drugs and alcohol, experimented any possible erotic fantasy, partied hard, tasted the bright lights, learned the language of pimps and derelicts, lived in baroque palaces and shooting galleries, became more human than human then got crushed by the city sickness.
The Blakula soundtrack was created at an undetermined period in time by Simon Maccari and Andrea Bellentani (also known as The Diaphanoids). The music is both unique and at the same time classic. Musical touchstones range from funk, seventies disco, psychedelia, avant-garde, no-wave vibe, cinematic atmospheric sounds, nightclub sleazy jazz to slow-mo bluesy grooves. Every track on the album has been played by real musicians, orchestral ensembles and choirs.
At Bearfunk we often step foot outside the boundaries of the normal and decry fiscal sanity. Blakula is one such step; a miniature suburban gothic funk/voodoo disco/slasher-thriller-giallo movie, soundtrack opera. Welcome Blakula's Permanent Midnight, an album that is a bitter and desperate ride through the alienated landscapes of a city's darkness.